Author: Bash Daily Group Archive Feed

Lots of wonderful videos of West Coast Jazz concert material and panel discussions

http://www.jazzpromoservices.com/
Thanks to Joe Lang for the link:

Lots of wonderful videos of West Coast Jazz concert material and panel discussions.

https://www.youtube.com/user/clydeyasuhara/videos?sort=dd&shelf_id=1&view=0

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: j (mailto:jazzpromo@earthlink.net) im@jazzpromoservices.com (mailto:jim@jazzpromoservices.com)
http://www.jazzpromoservices.com (http://www.jazzpromoservices.com/)

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September 2, 2015 / No Comments / More

Gary Keys, Filmmaker Who Documented Duke Ellington, Dies at 81 – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/08/31/movies/gary-keys-filmmaker-who-documented-duke-ellington-dies-at-81.html?emc=edit_tnt_20150830

** Gary Keys, Filmmaker Who Documented Duke Ellington, Dies at 81
————————————————————
By WILLIAM GRIMES (http://topics.nytimes.com/top/reference/timestopics/people/g/william_grimes/index.html) AUG. 30, 2015
Gary Keys in 1992. Credit John D. Kisch/Separate Cinema Archive, via Getty Images

Gary Keys, a filmmaker whose documentaries captured some of the most important figures in jazz from the 1960s through the 1980s — notably Duke Ellington (http://movies.nytimes.com/person/88854/Duke-Ellington?inline=nyt-per) , the subject of three of his films — died on Aug. 9 in Manhattan. He was 81.

The cause was complications of a gastrointestinal disorder, his former wife Wendy Keys Pels said.

Mr. Keys, who started out as a producer of jazz and pop concerts in the late ’50s, filmed Ellington and his orchestra on a tour in Mexico that he organized in connection with the 1968 Olympic Games. The ensuing documentary, “The Mexican Suite,” for which Ellington composed some original music, gave viewers an intimate look at the bandleader and his musicians at work.

In “Memories of Duke” (1980), Mr. Keys used much of the same concert footage but added interviews with musicians who had worked with Ellington. “Duke Ellington: Reminiscing in Tempo” (http://www.dailymotion.com/video/xmmzok_duke-ellington-reminiscing-in-tempo_shortfilms) (2006) offered a collage of performances and personal recollections.

Gary Joe Keys was born in Detroit on Feb. 12, 1934. After attending the University of Michigan for a semester, he served two years in the Army, where he was put to work organizing concerts for the troops in Germany.

After leaving the Army, he moved to New York and worked as a type designer and art director at a large printing house. When he began producing concerts, he often hired top graphic designers, including Milton Glaser and Seymour Chwast, to do the posters.

In the early ’60s, Mr. Keys helped produce and program some of the first “Jazz in the Garden” summer concerts at the Museum of Modern Art. He also produced concerts at Carnegie Hall and Lincoln Center by Stan Getz, Dionne Warwick, the Supremes, Simon and Garfunkel, Judy Garland and Stevie Wonder.

He made his first documentary, “Don’t Make Me Over,” about Ms. Warwick in the late ’60s. He then produced two socially conscious films: “Step by Step,” a portrait of Harlem Prep, a new school dedicated to educating high school dropouts and sending them on to college, and “Voices of the City,” about the Newark Boys Chorus.

In 1976, Mr. Keys’s produced the CBS-TV concert special “The Original Rompin’ Stompin’ Hot and Heavy, Cool and Groovy All-Star Jazz Show,” (http://www.dailymotion.com/video/xtbmy8_all-star-jazz-show-live-from-the-ed-sullivan-theater_music) which featured performances by Count Basie, Lionel Hampton, Max Roach, Stan Getz, Herbie Hancock and a host of other jazz greats. He went on to produce, with Tim Owens, the PBS series “Jazz in America.”

Mr. Keys later produced and directed music documentaries on Cuba (“Cuba: Island of Music” (https://www.youtube.com/watch?v=-zu84EMiwek) ), the interracial group the Salt and Pepper Gospel Singers (“Not Just Good Time Sunday”) and Whitney Houston (“Whitney Houston and Her Family: Voices of Love” (https://www.youtube.com/watch?v=jMHXmtMiDmQ) ).

His most recent film, “Trying to Kill Giants,” (http://www.denverfilm.org/filmcenter/detail.aspx?id=27022) about the embattled lives of the boxers Jack Johnson and Muhammad Ali and the actor and singer Paul Robeson, was shown in May at the African-American Film Festival in Dublin.

Mr. Keys, who had a second home on Cape Negro, Nova Scotia, that he shared for many years with the singer Richie Havens, is survived by his fourth wife, Grace Park; a son, Ellington; and two daughters, Linnea Keys and Malena Keys.

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

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August 31, 2015 / No Comments / More

Gary Keys, Filmmaker Who Documented Duke Ellington, Dies at 81 – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/08/31/movies/gary-keys-filmmaker-who-documented-duke-ellington-dies-at-81.html?emc=edit_tnt_20150830

The cause was complications of a gastrointestinal disorder, his former wife Wendy Keys Pels said.

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Jazz Promo Services
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August 31, 2015 / No Comments / More

Gary Keys, Filmmaker Who Documented Duke Ellington, Dies at 81 – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/08/31/movies/gary-keys-filmmaker-who-documented-duke-ellington-dies-at-81.html?emc=edit_tnt_20150830

The cause was complications of a gastrointestinal disorder, his former wife Wendy Keys Pels said.

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Jazz Promo Services
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Warwick, Ny 10990
USA

August 31, 2015 / No Comments / More

‘3-D Rarities’ Review: When the World First Loved 3-D Movies – WSJ

http://www.jazzpromoservices.com/
http://www.wsj.com/articles/3-d-rarities-review-when-the-world-first-loved-3-d-movies-1440540123

** ‘3-D Rarities’ Review: When the World First Loved 3-D Movies
————————————————————

** A new 3-D Blu-ray disc titled “3-D Rarities” extensively documents 3-D cinema that goes back to 1915.
————————————————————

Will Friedwald
Aug. 25, 2015 6:02 p.m. ET

From a promotional poster for ‘It Came From Outer Space’ (1953).

**
————————————————————

From a promotional poster for ‘It Came From Outer Space’ (1953). Photo: 3-D Film Archive, LLC

‘First, we had the silents. Next, we had the talkies. And third—and last—we have the roundies.” So speaks actor Lloyd Nolan in a 1952 short film with the catchy title of “M.L. Gunzburg Presents Natural Vision 3-Dimension.” That attempt at a shorthand phrase for 3-D never caught on, even though the process itself did for about three years, during which time Hollywood released 50 feature films in 3-D. That period is generally known as the Golden Age of 3-D, despite the recent renaissance of the medium, epitomized by “Avatar,” the top-grossing film of all time. But, as a new 3-D Blu-ray disc titled “3-D Rarities” extensively documents, 3-D cinema goes back to 1915. Thus, 2015 (a year in which virtually every one of the top-grossing films was released in 3-D) marks the hundredth anniversary of the medium.

The release is a production of the 3-D Film Archive, whose founder, Bob Furmanek, has been actively preserving and restoring classic stereoscopic films for over 30 years. The earliest known showing of a 3-D movie occurred in New York on June 10, 1915—a special “industry” screening presented by pioneering director Edwin S. Porter that included shots of Niagara Falls and of an exotic dancer doing her stuff (which would be a recurring subject for the medium). That footage, alas, is lost, as is the first 3-D feature film, “The Power of Love” (1922), but the new 3-D Blu-ray begins with the earliest surviving 3-D film, “Kelley’s Plasticon Pictures: Thru’ the Trees, Washington, D.C.” (1922), depicting parks and gardens in the Washington area. As you might expect, the silent images do look like a turn-of-the-20th-century stereopticon in which, yes, the images and the people therein are actually moving.

For roughly 30 years, the idea of stereoscopic motion pictures was the province of experimentalists, inventors and promoters. The new Blu-ray, which features 150 minutes of material, includes shots from 1935 of a Negro League baseball team (the Brooklyn Royal Giants) and images of a locomotive factory. The most impressive of these early efforts is “New Dimensions,” which was exhibited at the Chrysler pavilion of the 1940 World’s Fair in New York; by the time the fair closed, 4.5 million people had watched this imaginative short in which a 1940 Chrysler is assembled part by part right before their eyes—in vivid Technicolor and 3-D via stop-motion animation.

Hollywood turned to 3-D again in 1952 as a result of its standoff with another medium: television. The smash hit “Bwana Devil” (preceded by the Gunzburg film as a kind of prologue) launched the 3-D trend in a big way. The Golden Age of 3-D hit its pinnacle in 1953, when the process briefly convinced audiences that rather than stay home and stare at a small, flat, black-and-white screen, they should put on their 3-D glasses and immerse themselves in the big, colorful, fully dimensional fare at the neighborhood cinema. However, by the end of 1953, newer processes like CinemaScope (driven by the idea of a wide screen rather than a deep screen) were on the rise in movie theaters, and 3-D began to be perceived as a fading fad.

Mr. Furmanek believes it was a lack of quality control in the projection booth that sabotaged the medium. “In too many theaters, the shutters were out of phase and the poor alignment gave people headaches,” he said in an interview at his home in Clifton, N.J. “It was shoddy projection that killed 3-D.” (Mr. Furmanek knows all about projection—he has a full-scale setup in his basement with two vintage 35mm projectors.) The original 3-D boom differed from the current one in at least one important aspect: Today, nearly all the movies using the digital 3-D medium are animated or action films. But in the 1950s, while there was no shortage of sci-fi, horror and action epics (westerns, war and jungle movies), there were also highly prestigious 3-D musicals, comedies, crime and detective stories, and dramas, most famously Alfred Hitchcock’s dialogue-driven “Dial M For Murder” (1954).

One of the gems of the 3-D Blu-ray is the trailer for what was advertised in 1953 as “The First All 3-D Program.” The main attraction is the iconic alien invasion epic “It Came From Outer Space.” The trailer also contains a few moments from a musical featurette starring Nat King Cole, making him, to this day, one of very few musical superstars to be documented in 3-D.

The disc also features footage of a stand-up comedian, a burlesque show (and, as a bonus, an excerpt from “The Bellboy and the Playgirls,” a 1962 cheesecake flick directed by Francis Ford Coppola), and a singularly novel cartoon in which Casper the Friendly Ghost battles evil walking trees on the moon. The most surprising item is “Doom Town” (1953), an early hybrid of newsreel and documentary. Ostensibly a film of an atomic weapons test in Nevada, the soundtrack commentary by Gerald Schnitzer (who, at 98, is still with us) doesn’t wave any flags, but dwells on the death and destruction that resulted from splitting the atom. It’s hard to say which aspect of the film more presciently points to the future, the 3-D technology or the movie’s startling antinuclear stance.

Mr. Friedwald writes about music and popular culture for the Journal.

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

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August 29, 2015 / No Comments / More

‘3-D Rarities’ Review: When the World First Loved 3-D Movies – WSJ

http://www.jazzpromoservices.com/
http://www.wsj.com/articles/3-d-rarities-review-when-the-world-first-loved-3-d-movies-1440540123

** ‘3-D Rarities’ Review: When the World First Loved 3-D Movies
————————————————————

** A new 3-D Blu-ray disc titled “3-D Rarities” extensively documents 3-D cinema that goes back to 1915.
————————————————————

Will Friedwald
Aug. 25, 2015 6:02 p.m. ET

From a promotional poster for ‘It Came From Outer Space’ (1953).

**
————————————————————

From a promotional poster for ‘It Came From Outer Space’ (1953). Photo: 3-D Film Archive, LLC

Mr. Friedwald writes about music and popular culture for the Journal.

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
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August 29, 2015 / No Comments / More

‘3-D Rarities’ Review: When the World First Loved 3-D Movies – WSJ

http://www.jazzpromoservices.com/
http://www.wsj.com/articles/3-d-rarities-review-when-the-world-first-loved-3-d-movies-1440540123

** ‘3-D Rarities’ Review: When the World First Loved 3-D Movies
————————————————————

** A new 3-D Blu-ray disc titled “3-D Rarities” extensively documents 3-D cinema that goes back to 1915.
————————————————————

Will Friedwald
Aug. 25, 2015 6:02 p.m. ET

From a promotional poster for ‘It Came From Outer Space’ (1953).

**
————————————————————

From a promotional poster for ‘It Came From Outer Space’ (1953). Photo: 3-D Film Archive, LLC

Mr. Friedwald writes about music and popular culture for the Journal.

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 29, 2015 / No Comments / More

How Lena Horne Escaped Hollywood’s Blacklist – The Atlantic

http://www.jazzpromoservices.com/
http://www.theatlantic.com/entertainment/archive/2015/08/the-red-baiting-of-lena-horne/398291/

** The Red-Baiting of Lena Horne
————————————————————

* JOHN MERONEY (http://www.theatlantic.com/author/john-meroney/)
*
* AUG 27, 2015

She was a goddess with a honey-sweet voice. “I remember once seeing her on a train,” says the jazz scholar and author Stanley Crouch. “She had a luminous restrained presence that most superstars try to pretend they have. She really had it.”

Over the course of her long life, Lena Horne became a star of film, music, television, and stage, as well as a formidable force for civil rights. She won a Tony in 1981, and two years later, earned an NAACP medal that had previously been awarded to Martin Luther King, Jr., Richard Wright, Langston Hughes, and Rosa Parks. When she died in 2010 at age 92, President Barack Obama noted that she was the first black singer to tour with an all-white band and that she refused to perform for segregated audiences. “Michelle and I join all Americans in appreciating the joy she brought to our lives and the progress she forged for our country,” he said.

Yet there was a brief period in the early 1950s when Horne’s career seemed to be over. Her name had appeared in Red Channels, a report that listed more than 100 entertainers who appeared to have communist leanings. For more than three years after that, she struggled to get work. She continued to perform at nightclubs, but nobody in the TV or film industries would hire her.

She was at a low point in June 1953 when she performed at the Sands Hotel in Las Vegas. The city was not the shining epicenter of entertainment that it is today. It was not even the Las Vegas of Frank Sinatra’s famed Rat Pack yet. There were only a handful of hotels and motels, and the infamous Strip was nonexistent. But Horne had few other options. She closed the show with “Stormy Weather,” her most famous song:

Life is bare
Gloom and misery everywhere
Stormy weather
Just can’t get my poor self together
I’m weary all the time

Then she walked off the stage and went back to her room. On Sands stationery stamped with the hotel motto “A Place in the Sun,” her story unfolded. “Dear Mr. Brewer,” her letter began.

For decades, Horne’s biographers have largely glossed over the question of how Horne found her way back into the entertainment business. Even Horne’s daughter, Gail Lumet Buckley, who wrote a 1986 book about the Horne family, didn’t get to see the letter until 2013. All that time, it was sitting in a bankers’ box, packed away in a children’s playhouse on a dusty ranch in the San Fernando Valley. But those 12 neatly written pages reveal how a beautiful young black woman became a pawn in the Cold War—and how she ultimately regained control of her career and her life.

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

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August 29, 2015 / No Comments / More

How Lena Horne Escaped Hollywood’s Blacklist – The Atlantic

http://www.jazzpromoservices.com/
http://www.theatlantic.com/entertainment/archive/2015/08/the-red-baiting-of-lena-horne/398291/

** The Red-Baiting of Lena Horne
————————————————————

* JOHN MERONEY (http://www.theatlantic.com/author/john-meroney/)
*
* AUG 27, 2015

Life is bare
Gloom and misery everywhere
Stormy weather
Just can’t get my poor self together
I’m weary all the time

Then she walked off the stage and went back to her room. On Sands stationery stamped with the hotel motto “A Place in the Sun,” her story unfolded. “Dear Mr. Brewer,” her letter began.

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 29, 2015 / No Comments / More

How Lena Horne Escaped Hollywood’s Blacklist – The Atlantic

http://www.jazzpromoservices.com/
http://www.theatlantic.com/entertainment/archive/2015/08/the-red-baiting-of-lena-horne/398291/

** The Red-Baiting of Lena Horne
————————————————————

* JOHN MERONEY (http://www.theatlantic.com/author/john-meroney/)
*
* AUG 27, 2015

Life is bare
Gloom and misery everywhere
Stormy weather
Just can’t get my poor self together
I’m weary all the time

Then she walked off the stage and went back to her room. On Sands stationery stamped with the hotel motto “A Place in the Sun,” her story unfolded. “Dear Mr. Brewer,” her letter began.

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 29, 2015 / No Comments / More

Midday Jazz Midtown: September 2015

http://www.jazzpromoservices.com/

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SEP.
2015 ISSUE
No. 1
MIDDAY JAZZ MIDTOWN
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The summer may be on its way out, but Midday Jazz Midtown keeps rolling at Saint Peter’s! Pictured above (L-R): Marlene VerPlanck, Joe Alterman, Terry Waldo.

Wednesday, September 2, 1:00 p.m.
John Eckert’s New York Nine
The NY Jazz 9 is a troupe of nine veteran jazz masters whose cohesion and virtuosity support an eclectic repertoire. In addition to their deft interpretations of traditional American Jazz Standards, their unique specialty programs include a collection of Emily Dickinson poems set to music, and jazz arrangements of popular Chinese songs sung in Chinese and backed by a powerhouse jazz orchestra. Trumpeter John Eckert has played with Stan Kenton, Joe Henderson, and Lee Konitz among many others.

Wednesday, September 9, 1:00 p.m.
Barbara Carroll & Jay Leonhart
Ms. Carroll’s still evolving career as a jazz pianist and singer began when she played her first New York engagement opposite Dizzy Gillespie’s big band at the Downbeat Club in 1947. It wasn’t long before her trio was recording extensively in the 1950s for Atlantic, RCA and Verve. In 2003 Ms. Carroll was given the Kennedy Arts Center Mary Lou Williams Women in Jazz Award. Jay Leonhart has been named the Outstanding Bassist In the Recording Industry three times and has been privileged to play with the likes of Judy Garland, Duke Ellington, Thad Jones, Buddy Rich, Jim Hall, Peggy Lee, Mel Torme, and more.
Wednesday, September 16, 1:00 p.m.
Terry Waldo
“Terry Waldo, ragtime pianist nonpareil and eminent scholar of the form, is musical director and arranger, at the piano. He acts too. Mr. Waldo is worth the price of a ticket.” – New York Times.Terry Waldo, the celebrated protégé of the renowned Eubie Blake, is also the author of the book This is Ragtime.
Wednesday, September 23, 1:00 p.m.
Marlene VerPlanck
Throughout her career, Marlene VerPlanck has stuck to her guns, paying loving care to the great standards and new songs from our finest composers, while ignoring mediocre pop tunes. Songwriter Hugh Martin (“Have Yourself a Merry Little Christmas,” etc.) expressed it well: “We know our songs are safe in the hands of Marlene VerPlanck, and she will sing them better than anyone else.” According to the New York Times, “…She may be the most accomplished interpreter of popular material performing today…”

Wednesday, September 30, 1:00 p.m.
Joe Alterman / James Cammack / Kevin Kanner
In a recent interview with Brian Lehrer on WNYC, legendary journalist Nat Hentoff stated, “The last piece I did for them [The Wall Street Journal] – I’m so glad I had a chance to do it – is about a 24-year-old pianist and composer named Joe Alterman, who is really the personification of the past of jazz – he’s really deep into that – the present of jazz – he has his own voice – and that leads him into the future of jazz, and he’s so important in terms of the validity of jazz.”

Midday Jazz Midtown is a series produced by Ronny Whyte in partnership with Midtown Arts Common. Concerts are 1 hour long, and held on Wednesdays at 1 p.m. at Saint Peter’s Church. A $10 donation is requested.
PARKING

Discounted parking is available for all coming to Saint Peter’s Church, at Icon Parking: 51st St. between 3rd & Lex (south side of 51st Street)

Pricing: $15 up to 5 hours M-SA; $8 up to 5 hours on Sunday.

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Saint Peter’s Church | 619 Lexington Avenue | New York | NY | 10022

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August 28, 2015 / No Comments / More

Midday Jazz Midtown: September 2015

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Discounted parking is available for all coming to Saint Peter’s Church, at Icon Parking: 51st St. between 3rd & Lex (south side of 51st Street)

Pricing: $15 up to 5 hours M-SA; $8 up to 5 hours on Sunday.

Be sure to have your parking garage ticket stamped at the reception desk to receive the discount!

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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

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Jazz Promo Services
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USA

August 28, 2015 / No Comments / More

Midday Jazz Midtown: September 2015

http://www.jazzpromoservices.com/

Discounted parking is available for all coming to Saint Peter’s Church, at Icon Parking: 51st St. between 3rd & Lex (south side of 51st Street)

Pricing: $15 up to 5 hours M-SA; $8 up to 5 hours on Sunday.

Be sure to have your parking garage ticket stamped at the reception desk to receive the discount!

http://ui.constantcontact.com/d.jsp?m=1102324249101&p=oi

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

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Jazz Promo Services
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Warwick, Ny 10990
USA

August 28, 2015 / No Comments / More

Midday Jazz Midtown: September 2015

http://www.jazzpromoservices.com/

Discounted parking is available for all coming to Saint Peter’s Church, at Icon Parking: 51st St. between 3rd & Lex (south side of 51st Street)

Pricing: $15 up to 5 hours M-SA; $8 up to 5 hours on Sunday.

Be sure to have your parking garage ticket stamped at the reception desk to receive the discount!

http://ui.constantcontact.com/d.jsp?m=1102324249101&p=oi

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 28, 2015 / No Comments / More

George Bouchard dies; jazz saxophonist, NCC music professor was 71 | Newsday

http://www.jazzpromoservices.com/
http://www.newsday.com/long-island/obituaries/george-bouchard-dies-jazz-saxophonist-ncc-music-professor-was-71-1.10783456

** George Bouchard dies; jazz saxophonist, NCC music professor was 71
————————————————————

By CANDICE FERRETTE
George Bouchard of Westbury, a jazz musician and George Bouchard of Westbury, a jazz musician and longtime music professor at Nassau Community College, will be remembered with a memorial service at Beney Funeral Home in Syosset and honored with a concert at the college in December. Bouchard, 71, died on Aug. 12, 2015 after a yearlong battle with cancer, family members said. Photo Credit:

George Bouchard of Westbury, a jazz musician and longtime music professor at Nassau Community College, will be remembered Sept. 12 with a memorial service at Beney Funeral Home in Syosset and honored with a concert at the college in December.

Bouchard, 71, died Aug. 12 after a year with cancer, family members said.

He was an accomplished saxophonist and composer who released four original CDs and wrote a widely used instructional book called “Intermediate Jazz Improvisation.”
PhotosRecent notable deaths (safari-reader://www.newsday.com/entertainment/celebrities/recent-notable-deaths-1.1236203) See alsoSee more LI, U.S. obits (http://www.legacy.com/obituaries/newsday/)

He played in jazz clubs throughout the metropolitan area and his most recent group, The George Bouchard Band, played at events on Long Island. He won awards for excellence in music education and for advancing the arts on Long Island.

“He felt fortunate to make a living doing what he loved to do,” said his son, Derek Bouchard, 26, of Westbury.

During his more than 30 years as a full-time professor at NCC and his 40 years of teaching during the summers at the Jamey Aebersold Jazz Workshops at the University of Louisville in Kentucky, Bouchard inspired thousands of budding musicians, colleagues and former students said.

“He has a long legacy of professional players who began studying with him,” said Jeffrey Fox, chairman of the NCC music department. “George was very highly respected in the jazz community, not only on Long Island but nationally.” A scholarship for an NCC student to study jazz has been created in Bouchard’s name, Fox said.

Born Feb. 4, 1944, in Buffalo, he was the eldest of three children. His father worked in a factory and the family lived for much of his childhood in an apartment above the family delicatessen.
ObituariesLI notable deaths (safari-reader://www.newsday.com/long-island/obituaries/li-notable-deaths-1.223577)

When he was 19, on the night after President John F. Kennedy’s assassination, he found solace watching a jazz band play at a nightclub near his Buffalo home and decided he wanted a career in music.

He took saxophone lessons from the owner of a music store but was mostly self-taught, drawing inspiration from famous musicians Charlie Parker and John Coltrane, family members said.

He earned a degree in economics from the University at Buffalo and a master’s in music from Memphis State University. He served in the Navy from 1966 to ’69.

In addition to his son, Bouchard is survived by a brother, David Bouchard of Santa Monica, California; a sister, Terry Hepner of Buffalo; his companion, Trish Gapik of Carlsbad, California; Derek’s mother, Marianne Summer Bouchard of Farmingdale; and two nieces.

** You also may be interested in:
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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 28, 2015 / No Comments / More

George Bouchard dies; jazz saxophonist, NCC music professor was 71 | Newsday

http://www.jazzpromoservices.com/
http://www.newsday.com/long-island/obituaries/george-bouchard-dies-jazz-saxophonist-ncc-music-professor-was-71-1.10783456

** George Bouchard dies; jazz saxophonist, NCC music professor was 71
————————————————————

Bouchard, 71, died Aug. 12 after a year with cancer, family members said.

“He felt fortunate to make a living doing what he loved to do,” said his son, Derek Bouchard, 26, of Westbury.

When he was 19, on the night after President John F. Kennedy’s assassination, he found solace watching a jazz band play at a nightclub near his Buffalo home and decided he wanted a career in music.

He took saxophone lessons from the owner of a music store but was mostly self-taught, drawing inspiration from famous musicians Charlie Parker and John Coltrane, family members said.

He earned a degree in economics from the University at Buffalo and a master’s in music from Memphis State University. He served in the Navy from 1966 to ’69.

** You also may be interested in:
————————————————————

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 28, 2015 / No Comments / More

George Bouchard dies; jazz saxophonist, NCC music professor was 71 | Newsday

http://www.jazzpromoservices.com/
http://www.newsday.com/long-island/obituaries/george-bouchard-dies-jazz-saxophonist-ncc-music-professor-was-71-1.10783456

** George Bouchard dies; jazz saxophonist, NCC music professor was 71
————————————————————

Bouchard, 71, died Aug. 12 after a year with cancer, family members said.

“He felt fortunate to make a living doing what he loved to do,” said his son, Derek Bouchard, 26, of Westbury.

When he was 19, on the night after President John F. Kennedy’s assassination, he found solace watching a jazz band play at a nightclub near his Buffalo home and decided he wanted a career in music.

He took saxophone lessons from the owner of a music store but was mostly self-taught, drawing inspiration from famous musicians Charlie Parker and John Coltrane, family members said.

He earned a degree in economics from the University at Buffalo and a master’s in music from Memphis State University. He served in the Navy from 1966 to ’69.

** You also may be interested in:
————————————————————

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 28, 2015 / No Comments / More

Katie Couric: ‘Late Show’ bandleader Jon Batiste: on ‘love riots,’ Colbert, and all that jazz

http://www.jazzpromoservices.com/
https://www.yahoo.com/katiecouric/jon-batiste-bandleader-for-the-late-show-with-127651678063.html?soc_src=mail

** ‘Late Show’ bandleader Jon Batiste: on ‘love riots,’ Colbert, and all that jazz
————————————————————

Jazz musician Jon Batiste (http://jonbatiste.com/) has found his groove. At just 28, he’s performed in more than 40 countries, had a No. 1 album on the jazz charts and will be sharing the stage as bandleader with the new Late Show host Stephen Colbert (http://www.colbertlateshow.com/) starting September 8 on CBS.

Yahoo Global News Anchor Katie Couric met up with Batiste at the Blue Note (http://www.bluenote.net/newyork/index.shtml) , the legendary jazz club in Greenwich Village, New York, to play some tunes and chat about all that jazz.

** NEW ORLEANS ROOTS
————————————————————

** Colbert’s Bandleader Jon Batiste on his New Orleans roots
————————————————————

Jon Batiste, jazz musician and bandleader for The Late Show with Stephen Colbert, spoke with Yahoo Global News Anchor Katie Couric about his musical lineage and his New Orleans roots.

Growing up in Kenner, La., a suburb of New Orleans, Batiste was surrounded by music. (http://www.rollingstone.com/music/news/meet-jon-batiste-stephen-colberts-crowd-thrilling-rebel-bandleader-20150805) Coming from a long line of musicians, Batiste first sharpened his musical chops playing the conga drums in the family band, the Batiste Brothers Band, formed by his father and uncles. At 11 years old, he switched to piano and never looked back. By the time Batiste was 17, he had already released two albums and was on his way to Juilliard to study jazz and classical.

** JAZZ 2.0
————————————————————

** Jazz 2.0 with Jon Batiste
————————————————————

Jon Batiste, jazz musician and bandleader for The Late Show with Stephen Colbert, talks to Yahoo Global News Anchor Katie Couric about innovating jazz, improvisation and his mission to create social music.

Batiste and his band, Stay Human, have been credited with innovations to traditional jazz, blending standards with different styles and genres — be it R&B, rock, or pop, and taking their music to the streets with their so-called social music.

He describes social music as “music without any genre boundaries or borders. [It’s] about bringing people together who otherwise wouldn’t come together.” Stay Human has performed all over the world — from subway trains to ski slopes.

** ‘THE LATE SHOW’ WITH STEPHEN COLBERT
————————————————————

** Jon Batiste: Bandleader for The Late Show with Stephen Colbert
————————————————————

New Orleans bred, Juilliard trained jazz musician Jon Batiste talks to Yahoo Global News Anchor Katie Couric about his new role as bandleader for The Late Show with Stephen Colbert and his chemistry with Colbert.

On September 8, Batiste will be taking up the mantle of bandleader for The Late Show with Stephen Colbert, supported by his band, Stay Human. Batiste and Colbert first met in 2014 on Colbert’s Comedy Central show, The Colbert Report.

“I felt an energy,” recalled Batiste. “And then he did, too. And we kept speaking over time. And eventually it became a conversation about the show, the next show.” Colbert has said that he (http://www.vulture.com/2015/08/11-things-we-learned-from-stephen-colbert-tca-session.html) “can’t wait to play off [Batiste’s] energy.”

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

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Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 27, 2015 / No Comments / More

Katie Couric: ‘Late Show’ bandleader Jon Batiste: on ‘love riots,’ Colbert, and all that jazz

http://www.jazzpromoservices.com/
https://www.yahoo.com/katiecouric/jon-batiste-bandleader-for-the-late-show-with-127651678063.html?soc_src=mail

** ‘Late Show’ bandleader Jon Batiste: on ‘love riots,’ Colbert, and all that jazz
————————————————————

** NEW ORLEANS ROOTS
————————————————————

** Colbert’s Bandleader Jon Batiste on his New Orleans roots
————————————————————

Jon Batiste, jazz musician and bandleader for The Late Show with Stephen Colbert, spoke with Yahoo Global News Anchor Katie Couric about his musical lineage and his New Orleans roots.

** JAZZ 2.0
————————————————————

** Jazz 2.0 with Jon Batiste
————————————————————

** ‘THE LATE SHOW’ WITH STEPHEN COLBERT
————————————————————

** Jon Batiste: Bandleader for The Late Show with Stephen Colbert
————————————————————

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 27, 2015 / No Comments / More

Katie Couric: ‘Late Show’ bandleader Jon Batiste: on ‘love riots,’ Colbert, and all that jazz

http://www.jazzpromoservices.com/
https://www.yahoo.com/katiecouric/jon-batiste-bandleader-for-the-late-show-with-127651678063.html?soc_src=mail

** ‘Late Show’ bandleader Jon Batiste: on ‘love riots,’ Colbert, and all that jazz
————————————————————

** NEW ORLEANS ROOTS
————————————————————

** Colbert’s Bandleader Jon Batiste on his New Orleans roots
————————————————————

Jon Batiste, jazz musician and bandleader for The Late Show with Stephen Colbert, spoke with Yahoo Global News Anchor Katie Couric about his musical lineage and his New Orleans roots.

** JAZZ 2.0
————————————————————

** Jazz 2.0 with Jon Batiste
————————————————————

** ‘THE LATE SHOW’ WITH STEPHEN COLBERT
————————————————————

** Jon Batiste: Bandleader for The Late Show with Stephen Colbert
————————————————————

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 27, 2015 / No Comments / More

ST. ALBANS (jazz greats), Queens | | Forgotten New York

http://www.jazzpromoservices.com/
http://forgotten-ny.com/2002/11/st-albans-jazz-greats-queens/

** ST. ALBANS (jazz greats), Queens
————————————————————

New York City is a world mecca for tourism and entertainment. Throngs flock to Times Square every day of the year. Dozens of movies and TV shows are shot in NYC’s streets every week. At any given time, hundreds of musical performances and stage plays are being produced. But some of New York City’s entertainment meccas are little-known. St. George, Staten Island and Bayside, Queens could each claim status as actors’ colonies in the past, and early motion pictures were shot at Brooklyn’s Vitagraph Studios in Midwood.

When you think of jazz, you think of New Orleans, Chicago, Harlem, or even Greenwich Village. Queens doesn’t come immediately to mind. Yet, some of the greatest jazz and big band names were either born, spent a great deal of their lives, or died in Queens. On this page, we’ll show you just a few of them.

Remember, these are all private dwellings; be discreet when you view them. I won’t give exact addresses to protect the privacy of the buildings’ current owners.

Clarence Williams & Eva Taylor

Southern Queens’ ascendance as a mecca for jazz musicians began in 1923 when Clarence Williams, (http://www.redhotjazz.com/williams.html) a successful musician and entrepreneur from Plaquemine, Louisiana, purchased a home and eight lots at 171-37 108th Avenue. Anticipating the increasing popularity of jazz in the north, Williams moved first to Chicago in 1920 and then to New York with his wife, singer Eva Taylor, in 1923. Desiring open spaces reminiscent of his upbringing in the Louisiana delta, Williams made his home in Queens. He would be the first in a lengthy line of jazz musicians to come to southern Queens.

Addisleigh Park is a small part of the larger St. Albans neighborhood in Queens. Addisleigh is mostly clustered in the named streets (unusual for Queens) located north, south and west of Farmers and Linden Boulevards.

There are precious few memorials to St. Albans/Addisleigh Park’s jazz heritage. This now-fading mural on the northern side of Linden Boulevard as it passes under the Long Island Railroad depicts many of the jazz and entertainment giants who resided here.

New Mural

In 2004, a new mural was painted replacing the old one, which had been chipping away for some time.

Billie Holiday

The south side of the overpass depicts St. Albans as it was when the railroad first arrived, with a chuffing steam engine.

The mural depicts baseball stars such as Jackie Robinson who made their home in St. Albans. BELOW: mural credits.

WILLIAM “COUNT” BASIE (1904-1984)

Having grown up in New Jersey, Count Basie (http://www.bbc.co.uk/radio3/jazz/jazzprofiles/basie.shtml) arrived in NYC in 1923 and joined Fats Waller’s (see below) band as an organist in 1924. After playing with Benny Moten’s band, forging a new swing-based sound in Kansas City in 1927, he returned to the big apple in 1936 as the leader of the Count Basie Orchestra, which featured Lester Young (http://www.umkc.edu/orgs/kcjazz/jazzfolk/younl_00.htm) and Herschell Evans on sax, trumpeters Buck Clayton and Harry Edison and vocalists Billie Holiday, Jimmy Rushing (http://www.jimmyrushing.com/) and Helen Humes. Their residence at the Woodside Hotel in Harlem inspired 1938′s “Jumpin’ at the Woodside.”

Count Basie’s home on Adelaide Road and 175th Street, St. Albans

In the 50s, Basie formed a new band that included the new sound of bebop and more blues-y elements. Basie’s pop hits include “One O’Clock Jump,” “Blue Skies,” and the #1 “Open the Door, Richard!” in 1947; in 1963 he enjoyed a Top Five album with Frank Sinatra, “Sinatra-Basie.”

Count Basie moved to the new neighborhood of Addisleigh Park in 1946.

ELLA FITZGERALD (1918-1996)

“Among all of us who sing, Ella was the best”. — Johnny Mathis

“I never knew how good our songs were until I heard Ella Fitzgerald sing them.”
–Ira Gershwin

Ella Fitzgerald (http://www.pbs.org/wnet/americanmasters/database/fitzgerald_e.html) performed for 58 years, won 13 Grammy Awards and sold in excess of 40 million records. “The First Lady of Song” was born in Newport News, VA, and was orphaned young in life. She was discovered in an amateur contest sponsored by Harlem’s famed Apollo Theatre in 1934 and was soon the featured vocalist in Chick Webb (http://www.bbc.co.uk/radio3/jazz/jazzprofiles/webb.shtml) ‘s band.

Ella lived on Murdock Avenue between 179th and 180th Street. She moved to Addisleigh Park in the 1950s.

“I was delighted when Ella moved here. I could go up to her bar at her house and drink up all of her whiskey, and then go through somebody’s yard and go home.”Illinois Jacquet

Ella enjoyed her first big smash in 1938 with “A-Tisket, a Tasket” and led Webb’s band for three years after his death in 1939. After enjoying dozens of hits on the Decca label, including “I’m Making Believe” in 1944, “I Love You For Sentimental Reasons” in 1946 and “Baby, It’s Cold Outside” with Louis Jordan in 1949, Ella moved on the the new Verve label in 1955 and reinterpreted classics by Cole Porter (http://www.pbs.org/wnet/americanmasters/database/porter_c.html) , Duke Ellington (http://www.dukeellington.com/) and Rodgers and Hart (http://www.nodanw.com/biographies/rodgers_hart.htm) on albums featuring Nelson Riddle (http://www.spaceagepop.com/riddle.htm) arrangements.

Ella’s famed ‘scat-singing’ technique is best heard on hits like “Smooth Sailing” in 1951.

MILT HINTON (1910-2000)

Milt Hinton (http://www.allmusic.com/cg/amg.dll?p=amg&sql=B6fzsa9qgb23u) , The dean of jazz bassists, ”The Judge” was born in Vicksburg, Mississippi and moved to Chicago with his family in 1921. After working through the 1920s a s afreelance musician with such legendary jazz artists including Zutty Singleton, Jabbo Smith, Eddie South, Erskine Tate, and Art Tatum, he joined Cab Calloway (http://www.bbc.co.uk/radio3/jazz/jazzprofiles/calloway.shtml) ‘s band in 1936, remaining with Cab for 15 years.

Milt Hinton lived in this house at 113th Avenue and Marne Place.Hinton was a Queens resident from 1950 until his death in 2000.

Striking out on his own in the early 1950s, Hinton went on to play on thousands of recordings and toured extensively, performing with such giants as Louis Armstrong, Bing Crosby (http://www.who2.com/bingcrosby.html) ,Charles Mingus (http://www.mingusmingusmingus.com/) , John Coltrane (http://www.johncoltrane.com/automat/swf/main.htm) , and even pop musicans such as Bette Midler and Paul McCartney.

Milt Hinton was also an educator and author, teaching at Hunter and Baruch Colleges. He also became an exhibited photographer, having taken over 60,000 images from his years on the road; many were published in his his book “Bass Line.”

THOMAS “FATS” WALLER (1904-1943)

Fats appears to be in an enviable position in this undated photo.

His derby tilted rakishly to one side, Fats Waller (http://www.pbs.org/jazz/biography/artist_id_waller_fats.htm) plinked the 88s and dotted his playful, high-spirited jazz-pop songs with bawdy ad-libs. Waller, one of the 1930s’ consummate crowd-pleasers, was born in Greenwich Village in 1904, was playing piano by ear at age six, and at his reverend father’s encouragement, learned violin, bass violin and organ.

Waller got his professional start at ‘rent parties’ (where admission was charged to help out with rent payments) and vaudeville. In 1927, he collaborated on his first hit show, “Keep Shufflin’”, and his next show, “Hot Chocolates” contained his first big hit, “Ain’t Misbehavin.’”

Waller went on to score and perform in dozens of shows. His biggest hit, “It’s a Sin to Tell a Lie”, came in 1936, and he wrote and performed time-tested classics like “Honeysuckle Rose,” The Joint Is Jumpin,’” and “Lulu’s Back in Town.”

photo: Jeff Saltzman

Fats Waller was reportedly the first African American to live in Addisleigh Park. He resided in this house at Sayres Avenue and 174th Street. His home had a built-in Hammond organ and a Steinway grand.

Waller suffered from drinking and overweight problems his entire life. He also considered himself a serious musician, but racism in the period prevented him from realizing these ambitions. Soon after finishing work in “Stormy Weather” in 1943 he collapsed and died of bronchial pneumonia.

Speaking of ”Stormy Weather”…

LENA HORNE (1917-)

Lena Horne (http://www.pbs.org/wnet/americanmasters/database/horne_l.html) was born in Brooklyn in 1917 and has been performing since she was a teenager. She danced and later sung at the Cotton Club beginning in 1933 and made her first recordings in 1937 with Teddy Wilson’s orchestra. She joined Charlie Barnet (http://www.forevergold.co.uk/fg_pages/collcardpages/cc10_barnet.html) ‘s orchestra in 1940, and while Barnet’s behavior was exemplary (he was one of the first white bandleaders to hire African Americans) she tired of the draining segregation and racism that was such a constant durng that time. Upon signing with MGM in 1940, she shrewdly had a clause written in that prevented her from depicting domestics, in a jungle native role, or other cliché images. Her appearance in 1943′sStormy Weather was a sensation; her rendition of the title song was her biggest hit and remains her signature song. Lena Horne left Hollywood in the early fifties to concentrate on her singing.

178th Street between 112th Avenue and Murdock Avenue. Like many of her contemporaries, Lena Horne resided here beginning in the 1940s.

During the Joe McCarthy (http://www.cnn.com/SPECIALS/cold.war/kbank/profiles/mccarthy/) era, she was blacklisted for her left-wing associations, but in 1956 she was taken off the list and resumed her career. She found great success during the sixties and seventies. In 1981, she appeared on Broadway in her own show,Lena Horne: The Lady and Her Music, which became the longest-running one-woman show in the history of Broadway. She continues recording to this day. Lena Horne lives in New York City.

Before we move on to other parts of Queens, let’s mention other artists who have also made St. Albans and Addisleigh Park their home…

Saxophonist John Coltrane (http://www.johncoltrane.com/automat/swf/main.htm) (left), who along with Charlie Parker (http://www.duke.edu/~rw5/parkerb.html) is regarded by many fans as the greatest jazz performer in history, lived on Mexico Street near Quencer Road; Mercer Ellington (http://americanhistory.si.edu/paac/deyf97/mrcr.htm) , Duke’s son, who took over the Ellington Orchestra after his father’s death and wrote Duke’s biography, lived on 175th Street near 113th Avenue; saxophonist Eddie “Lockjaw” Davis (http://www.allmusic.com/cg/amg.dll?p=amg&uid=SEARCH&sql=Birazefikhgf5) , Foch Boulevard near 171st Street; saxophonist Illinois Jacquet (http://www.allmusic.com/cg/amg.dll) and his brother, trumpeter Russell Jacquet (http://www.allmusic.com/cg/amg.dll?p=amg&sql=Bz7d1vwxva9qk) , in nearby houses on 179th Street near 112th Avenue; and saxophonist Earl Bostic, pianist/organist Wild Bill Davis, bassist Slam Stewart, trumpeter Cootie Williams, saxophonist Oliver Nelson,
drummer James “Osie” Johnson, saxophonist Lester Young, and singer Rose Murphy also lived in St. Albans.

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

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ST. ALBANS (jazz greats), Queens | | Forgotten New York

http://www.jazzpromoservices.com/
http://forgotten-ny.com/2002/11/st-albans-jazz-greats-queens/

** ST. ALBANS (jazz greats), Queens
————————————————————

Remember, these are all private dwellings; be discreet when you view them. I won’t give exact addresses to protect the privacy of the buildings’ current owners.

Clarence Williams & Eva Taylor

New Mural

In 2004, a new mural was painted replacing the old one, which had been chipping away for some time.

Billie Holiday

The south side of the overpass depicts St. Albans as it was when the railroad first arrived, with a chuffing steam engine.

The mural depicts baseball stars such as Jackie Robinson who made their home in St. Albans. BELOW: mural credits.

WILLIAM “COUNT” BASIE (1904-1984)

Count Basie’s home on Adelaide Road and 175th Street, St. Albans

Count Basie moved to the new neighborhood of Addisleigh Park in 1946.

ELLA FITZGERALD (1918-1996)

“Among all of us who sing, Ella was the best”. — Johnny Mathis

“I never knew how good our songs were until I heard Ella Fitzgerald sing them.”
–Ira Gershwin

Ella lived on Murdock Avenue between 179th and 180th Street. She moved to Addisleigh Park in the 1950s.

“I was delighted when Ella moved here. I could go up to her bar at her house and drink up all of her whiskey, and then go through somebody’s yard and go home.”Illinois Jacquet

Ella’s famed ‘scat-singing’ technique is best heard on hits like “Smooth Sailing” in 1951.

MILT HINTON (1910-2000)

Milt Hinton lived in this house at 113th Avenue and Marne Place.Hinton was a Queens resident from 1950 until his death in 2000.

THOMAS “FATS” WALLER (1904-1943)

Fats appears to be in an enviable position in this undated photo.

photo: Jeff Saltzman

Speaking of ”Stormy Weather”…

LENA HORNE (1917-)

178th Street between 112th Avenue and Murdock Avenue. Like many of her contemporaries, Lena Horne resided here beginning in the 1940s.

Before we move on to other parts of Queens, let’s mention other artists who have also made St. Albans and Addisleigh Park their home…

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 26, 2015 / No Comments / More

ST. ALBANS (jazz greats), Queens | | Forgotten New York

http://www.jazzpromoservices.com/
http://forgotten-ny.com/2002/11/st-albans-jazz-greats-queens/

** ST. ALBANS (jazz greats), Queens
————————————————————

Remember, these are all private dwellings; be discreet when you view them. I won’t give exact addresses to protect the privacy of the buildings’ current owners.

Clarence Williams & Eva Taylor

New Mural

In 2004, a new mural was painted replacing the old one, which had been chipping away for some time.

Billie Holiday

The south side of the overpass depicts St. Albans as it was when the railroad first arrived, with a chuffing steam engine.

The mural depicts baseball stars such as Jackie Robinson who made their home in St. Albans. BELOW: mural credits.

WILLIAM “COUNT” BASIE (1904-1984)

Count Basie’s home on Adelaide Road and 175th Street, St. Albans

Count Basie moved to the new neighborhood of Addisleigh Park in 1946.

ELLA FITZGERALD (1918-1996)

“Among all of us who sing, Ella was the best”. — Johnny Mathis

“I never knew how good our songs were until I heard Ella Fitzgerald sing them.”
–Ira Gershwin

Ella lived on Murdock Avenue between 179th and 180th Street. She moved to Addisleigh Park in the 1950s.

“I was delighted when Ella moved here. I could go up to her bar at her house and drink up all of her whiskey, and then go through somebody’s yard and go home.”Illinois Jacquet

Ella’s famed ‘scat-singing’ technique is best heard on hits like “Smooth Sailing” in 1951.

MILT HINTON (1910-2000)

Milt Hinton lived in this house at 113th Avenue and Marne Place.Hinton was a Queens resident from 1950 until his death in 2000.

THOMAS “FATS” WALLER (1904-1943)

Fats appears to be in an enviable position in this undated photo.

photo: Jeff Saltzman

Speaking of ”Stormy Weather”…

LENA HORNE (1917-)

178th Street between 112th Avenue and Murdock Avenue. Like many of her contemporaries, Lena Horne resided here beginning in the 1940s.

Before we move on to other parts of Queens, let’s mention other artists who have also made St. Albans and Addisleigh Park their home…

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 26, 2015 / No Comments / More

ST. ALBANS (jazz greats), Queens | | Forgotten New York

http://www.jazzpromoservices.com/
http://forgotten-ny.com/2002/11/st-albans-jazz-greats-queens/

** ST. ALBANS (jazz greats), Queens
————————————————————

Remember, these are all private dwellings; be discreet when you view them. I won’t give exact addresses to protect the privacy of the buildings’ current owners.

Clarence Williams & Eva Taylor

New Mural

In 2004, a new mural was painted replacing the old one, which had been chipping away for some time.

Billie Holiday

The south side of the overpass depicts St. Albans as it was when the railroad first arrived, with a chuffing steam engine.

The mural depicts baseball stars such as Jackie Robinson who made their home in St. Albans. BELOW: mural credits.

WILLIAM “COUNT” BASIE (1904-1984)

Count Basie’s home on Adelaide Road and 175th Street, St. Albans

Count Basie moved to the new neighborhood of Addisleigh Park in 1946.

ELLA FITZGERALD (1918-1996)

“Among all of us who sing, Ella was the best”. — Johnny Mathis

“I never knew how good our songs were until I heard Ella Fitzgerald sing them.”
–Ira Gershwin

Ella lived on Murdock Avenue between 179th and 180th Street. She moved to Addisleigh Park in the 1950s.

“I was delighted when Ella moved here. I could go up to her bar at her house and drink up all of her whiskey, and then go through somebody’s yard and go home.”Illinois Jacquet

Ella’s famed ‘scat-singing’ technique is best heard on hits like “Smooth Sailing” in 1951.

MILT HINTON (1910-2000)

Milt Hinton lived in this house at 113th Avenue and Marne Place.Hinton was a Queens resident from 1950 until his death in 2000.

THOMAS “FATS” WALLER (1904-1943)

Fats appears to be in an enviable position in this undated photo.

photo: Jeff Saltzman

Speaking of ”Stormy Weather”…

LENA HORNE (1917-)

178th Street between 112th Avenue and Murdock Avenue. Like many of her contemporaries, Lena Horne resided here beginning in the 1940s.

Before we move on to other parts of Queens, let’s mention other artists who have also made St. Albans and Addisleigh Park their home…

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 26, 2015 / No Comments / More

New handbag plays contemporary classical music | gramophone.co.uk

http://www.jazzpromoservices.com/
http://www.gramophone.co.uk/classical-music-news/new-handbag-plays-contemporary-classical-music

** New handbag plays contemporary classical music
————————————————————
http://www.gramophone.co.uk/classical-music-news/new-handbag-plays-contemporary-classical-music

** The dbCHRONICLE is a wearable accessory that plays David Lang’s optimism, performed by So Percussion
————————————————————

Composer David Lang’s optimism, performed by So Percussion, has found a new lease of life by providing the soundtrack to a new hi-tech handbag by New York-based designer Diana Broussard that also features a customisable LCD screen. In the film below you can hear Lang’s piece as it is incorporated in to the dbCHRONICLE.

Broussard explains: ‘The idea is to radically bring technology to fashion, but with creative beauty within a functional beautifully designed bag. There is a rise of video creation and consumption. This design adds a new dimension to self-expression by introducing motion to fashion with videos.’

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Unsubscribe (http://jazzpromoservices.us2.list-manage.com/unsubscribe?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]&c=2aafa1f6b4) | Update your profile (http://jazzpromoservices.us2.list-manage.com/profile?u=3186fe64133adb244b1010be2&id=911f90f0b1&e=[UNIQID]) | Forward to a friend (http://us2.forward-to-friend.com/forward?u=3186fe64133adb244b1010be2&id=2aafa1f6b4&e=[UNIQID])

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 26, 2015 / No Comments / More

New handbag plays contemporary classical music | gramophone.co.uk

http://www.jazzpromoservices.com/
http://www.gramophone.co.uk/classical-music-news/new-handbag-plays-contemporary-classical-music

** The dbCHRONICLE is a wearable accessory that plays David Lang’s optimism, performed by So Percussion
————————————————————

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 26, 2015 / No Comments / More

New handbag plays contemporary classical music | gramophone.co.uk

http://www.jazzpromoservices.com/
http://www.gramophone.co.uk/classical-music-news/new-handbag-plays-contemporary-classical-music

** The dbCHRONICLE is a wearable accessory that plays David Lang’s optimism, performed by So Percussion
————————————————————

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
USA

August 26, 2015 / No Comments / More

“It’s not just a party, it’s our life”: Jazz musicians led the way back to the city after Katrina — but what is this “new” New Orleans?

http://www.jazzpromoservices.com/
http://www.salon.com/2015/08/23/its_not_just_a_party_its_our_life_jazz_musicians_led_the_way_back_to_the_city_after_katrina_but_what_is_this_new_new_orleans/

** Culture brought New Orleans back after the flood, but for some artists there’s a newfound sense of alienation
————————————————————
LARRY BLUMENFELD (http://www.salon.com/writer/larry_blumenfeld/)

** “It’s not just a party, it’s our life”: Jazz musicians led the way back to the city after Katrina — but what is this “new” New Orleans?
————————————————————
“It’s not just a party, it’s our life”: Jazz musicians led the way back to the city after Katrina — but what is this “new” New Orleans?

The spot where St. Ann Street dead-ends into North Rampart in New Orleans, the dividing line between the French Quarter and the Tremé neighborhood, was quiet on a Friday night in November 2005. Once alight with bulbs that spelled out “Armstrong,” the large steel archway that frames the intersection was dark, its white paint overtaken by rust. Beneath it, a thick, carelessly wound chain bound two iron gates, from which dangled a steel padlock. The whole assembly looked as if it was meant to secure some oversized bicycle rather than the entrance to a 32-acre city park modeled after Copenhagen’s Tivoli Gardens and named for trumpeter Louis Armstrong.

Armstrong Park was closed, had been since the flood that resulted from the levee failures following Hurricane Katrina. You could see Elizabeth Catlett’s bronze statue of Louis, trumpet in left hand, handkerchief in right, but only from a distance through bars. Armstrong in prison, it looked like.

Or maybe this likeness of the trumpeter, who left New Orleans early in his career for fame and for good, was on the outside. Maybe all of us in New Orleans in late 2005, the locals who made their way back and those like me, who had shown up from afar, were locked away from something essential — a culture that has long defined this city and its inhabitants, and long helped its visitors find their true selves.

Aug. 29 will mark a decade since the 2005 disaster that we’ve come to know by the name Katrina — for the hurricane, a natural disaster — but that is more accurately understood as unnameable and unnatural, a failure of engineering and due diligence followed by a long wake of indifference or worse.

The media coverage surrounding this 10th anniversary will likely constitute its own deluge, dominated by maudlin memories of catastrophe and self-righteous hype about recovery. The conflation of past misery and present cheerleading came clear in New Orleans Mayor Mitch Landrieu’s June appearance on MSBNC’s “Morning Joe,” (http://www.msnbc.com/morning-joe/watch/new-orleans-mayor-on-katrina-at-10-457142339531) to promote the city’s campaign, “Katrina 10: Resilient New Orleans” (http://katrina10.org/) :

On-screen, stock 2005 footage showed fetid floodwaters and rescues in progress. Cut to Landrieu, in an interview, saying, “We’re doing great. We’re doing much better … It’s a redemption, an incredible comeback story.”

Within all the hoopla to come, expect trumpets and trombones and tubas and second-line parades in progress. The storied jazz culture of New Orleans will again provide prominent B-roll for TV.

That culture belongs in the foreground.

That’s the story I’ve been tracking. Now, a decade in, I want to know if those who most need and want New Orleans jazz culture now find themselves, amid all the rebuilding, estranged from it or feeling as if it may yet slip away.

In October 2005, I wrote an essay for Salon (http://www.salon.com/2005/10/12/jazz_8/) in which I wondered whether musicians and other culture bearers of New Orleans would return to their devastated city at all. I worried over the prospect of a Disney-fied Crescent City, or whether the whole place would be turned into a museum piece. I asked if the culture born in New Orleans — which Ken Burns’ PBS series “Jazz” famously cast as a signal of American values and virtues on the order of the Constitution — “still carried currency when it comes to the issues Katrina raised: identity, race, poverty and basic decency.”

In the long wake of the flood, the ranks of jazz musicians, the brass-band-led Sunday second-line paraders and the feathered-and-beaded Mardi Gras Indians — the key players of indigenous New Orleans culture — did not simply return. They came back sooner and in greater numbers than the rest of the population. They led the way, and have maintained a vital sense of continuity. Louisiana State University sociologist Frederick Weil, who surveyed 6,000 New Orleans residents, told me, “By the standards of civic-engagement literature, the members of the Social Aid & Pleasure Clubs who sponsor weekly parades are ‘model citizens,’ scoring highest of any group. They are community leaders, supporting each other in times of need and providing concrete services.”

David Simon’s HBO series “Treme,” a fictional depiction of post-Katrina New Orleans, captured this truth. In its premiere episode, before a word of dialogue was uttered, a saxophonist licked and then adjusted his reed. Slide oil was applied to a trombone. Two black kids danced to a faint parade rhythm. An unseen trumpet sounded an upward figure, followed by a tuba’s downward groove. The scene re-created the first second-line parade following Katrina — a memorial for a local chef, Austin Leslie.

Simon told me then, in 2010, “Apart from culture, on some empirical level, it does not matter if all New Orleans washes into the Gulf, and if everyone from New Orleans ended up living in Houston or Baton Rouge or Atlanta. Culture is what brought this city back … New Orleans is coming back, and it’s sort of done it one second-line at a time.”

“Initially, New Orleans jazz was a reflection of a way of life,” clarinetist and professor Michael White told me back in 2006 at his office at Xavier University, while peering over a jagged pile that included the red notebook in which, during the weeks following Katrina, he jotted down the names and whereabouts of friends and colleagues. “It spoke of the way people walk, talk, eat, sleep, dance, drive, think, make jokes and dress. But I don’t think America ever truly understood New Orleans culture, because the mind-set is so different here. So that whole tradition was hidden from most of America.”

When I first got to New Orleans after the flood I was stunned first by just how much had been destroyed, and then later by just how little I knew. I’d been writing about jazz for 20 years. Yet I was profoundly ignorant about what it means to have a living music, one that flows from and embeds everyday life — a functional jazz culture of the sort that once existed in cities throughout the United States but now is exclusive to New Orleans. Before I spent months at a time in the city, before I spent countless hours with the people who make and support New Orleans jazz culture, I knew about but had not yet meaningfully felt the link to something fundamentally African, transplanted via the enslaved who passed through much of this hemisphere, who drummed and danced in Congo Square, a stone’s throw from where that Armstrong statue now stands. And I had no clue what a tenuous proposition this culture represents: What it was, is and maybe always will be up against.

“There’s a feeling among many of us,” White told me in 2006, “that some of our older cultural institutions, like parades and jazz funerals, are in the way of progress and don’t fit in the new vision of New Orleans, that they should only be used in a limited way to boost the image of New Orleans, as opposed to being real, viable aspects of our lives.”

Was New Orleans jazz culture welcomed back? Not exactly.

If there’s a culture war going on in the city, that’s hardly news. According to historian Freddi Williams Evans’ book “Congo Square: African Roots in New Orleans,” Congo Square was codified by an 1817 city ordinance that restricted drumming and African dances to a single spot. Skip to 1996, when a photograph of a protest march that ran in the Times-Picayune newspaper showed a teenage snare drummer wearing a sign: “I Was Arrested for Playing Music.”

The past decade (http://www.villagevoice.com/news/hard-listening-in-the-big-easy-6428136) lends a new chapter to such conflicts. In the years since the 2005 flood, tensions surrounding culture have flared. In 2007, a consortium of Social Aid and Pleasure Clubs defeated jacked-up city permit fees for their weekly brass-band-led second-line parades in federal court, on First Amendment grounds. (“Should the law not be enjoined,” the complaint, filed on behalf of a consortium of Social Aid & Pleasure Clubs, aided by the American Civil Liberties Union, stated, “there is very little doubt that plaintiff’s cultural tradition will cease to exist.”)

Later that year, police busted up a memorial procession (http://www.salon.com/news/feature/2007/10/29/treme/) for a beloved tuba player in dramatic fashion, reigniting a long-standing fight over who owns the streets.

This narrative unfolded despite the city’s pervasive use of these traditions to rekindle a tourism business that, in 2014, hosted 9.5 million visitors who spent $6.8 billion (a record for visitor spending).

“We rose out of water and debris to lead the way back to the life that we love,” said Bennie Pete, sousaphonist and leader of the Hot 8 Brass Band, a local favorite, at a public forum on such matters in 2008. “It’s not just a party, it’s our life. We can sugarcoat it all kinds of ways, but the city looks at us as uncivilized. And that’s why they try to confine us.”

During the past few years, as a yet undefined “new” New Orleans rubs up against whatever is left of the old one, brass bands have been shut down on their customary street corners. Music clubs have increasingly been hit with lawsuits and visited by the police responding to phoned-in complaints. A revival of rarely enforced ordinances regarding noise and zoning has met a fresh groundswell of activism. All this has happened in the context of swift gentrification of neighborhoods such as Tremé, long a hothouse for indigenous culture.

The calls and responses of a storied musical tradition have often of late been drowned out by back-and-forth arguments over these matters. At issue recently have been noise ordinances, the implications of a new citywide Comprehensive Zoning Ordinance (especially as to where and when live music is allowed), and one particularly contentious item, Section 66-205, which states: “It shall be unlawful for any person to play musical instruments on public rights-of-way between the hours of 8:00 p.m. and 9:00 a.m.” (Never mind that tourists arrive with the precise expectation of hearing music played on the streets at night. Or that a city attorney had already declared that curfew unconstitutional.)

The battles during the past decade over what would get rebuilt and what wouldn’t, who could return and who couldn’t, have in large part now given way to debates over the shape and character of the “new” city. Those who remember the green dots on maps issued in January 2006 by then-Mayor C. Ray Nagin’s Bring New Orleans Back Commission — targeting certain hard-hit areas of New Orleans as future park space — know that the city’s future and character has a lot to do with how its spaces are zoned and used. Amid the panic and fury of residents whose neighborhoods had been overlaid with those green dots, who had expected to return and rebuild, that 2006 map quickly met its demise. Yet many of its ominous implications have played out anyway through obstacles to rebuilding and land grabs.

The wave of gentrification that has intensified in New Orleans during the past few years — especially as carried by what one writer referred to as “yurps” (young urban rebuilding professionals) — has been stunningly swift and dramatic. New Orleans has long held bohemian attraction: Now that allure is coupled with start-up cash.

In any city, gentrification raises questions: What happens when those who build upon cultural cachet don’t want that culture next door? The levees that failed represented an isolated confluence of chance, faulty design and neglect, and yet pointed to dangers lapping at all our shores; this story of an embattled culture is unexceptional in the sense that it suggests similar conflicts in other cities and common threats to our collective cultural identity. Yet in New Orleans, such concerns are underscored by a legitimately exceptional truth — a functional jazz culture that is, for many, elemental to daily life and social cohesion, and that the city’s Convention & Visitors Bureau website correctly claims “bubbles up from the streets.”

During a press conference at last year’s Jazz & Heritage Festival, Mayor Landrieu told me, “There is a way to organize culture without killing it.” Those words are either comforting or alarming, depending upon whom you ask. As David Freedman, the general manager of listener-supported WWOZ-FM (self-proclaimed “Guardians of the Groove”), told me, “An unintended consequence may be the death of spontaneous culture in New Orleans. Some may think this is good for tourism and development, but it is not good for the distinct musical traditions at the core of our identity.” As Alex Rawls, a veteran local music critic, said, “The Disneyfication of New Orleans that people talked about after Katrina was supposed to be quick and dramatic. The danger is not like that. If you take your hands off the wheel and let business interests rule, that sort of thing happens more gradually, almost without people noticing.”

“In New Orleans, the music community has arguably been in a cultural crisis for two or three generations,” explained clarinetist Evan Christopher, who moved to New Orleans more than 20 years ago. “We have staved off cultural annihilation by embracing fictions in harmony with the tourism machine and smiled upon by the ‘New Right’ and their fetish for nostalgia. Post-Katrina, our community’s leadership was nowhere to be seen and before half of our city had returned, 80 percent of us came back with hat in hand. The utterance of ‘jazz,’ which should have represented a true strategy of transformation or an answer to revitalization, quickly became an empty slogan hung from street lamps.”

Beyond cultural policy is the stark reality facing the largely black communities that have long nurtured and still support the city’s indigenous culture. According to The Data Center (http://www.datacenterresearch.org/reports_analysis/new-orleans-index-at-ten/) , an independent research group based in New Orleans, there are 99,650 fewer black residents living in New Orleans now than in 2000. (The population is now 59 percent black, down from 66.7 percent in 2000.)

The Urban League of Greater New Orleans released data points from a forthcoming “State of Black New Orleans” report revealing that the number of black children younger than 18 living in poverty in the city grew by 6.5 percent from 2005 to 2013. (In 2013, more than 54,000 black children younger than 18 — 50.5 percent — were considered to be poor.) The Urban League’s statistics show widening inequity (http://www.theneworleansadvocate.com/news/12822531-125/post-katrina-progress-for-Black-new) as well— an 18 percent increase in the gap between the median income of black households and white households in the city. Overall, more than 35 percent of black families in New Orleans now live below the poverty line.

“I think no one will disagree that there has been tremendous progress in New Orleans in many ways,” said Erika McConduit-Diggs, Greater New Orleans Urban League president. “You can tell that from bricks and mortar. But it’s more complex when you peel back layers and look at how African-American communities are faring. What was troubling for many residents before the storm is actually now worsened. We have relocated concentrated poverty.”

Lolis Eric Elie, a former New Orleans Times-Picayune columnist and co-producer of the documentary “Faubourg Tremé: The Untold Story of Black New Orleans,” said, “My concern after the flood was that one catastrophic event might mean that this tradition that has endured would die out in one fell swoop. Now, my concern is that economic conditions make it increasingly hard for people to do these things because they require time, effort and money.”

The headline to a recent article in the New Orleans Advocate declared, “Katrina Scattered New Orleans’ Entrenched Social Networks Far and Wide.” (http://www.theneworleansadvocate.com/katrina/12479401-186/katrina-scattered-new-orleans-entrenched) Even those black residents who have returned to New Orleans now increasingly live in nearby suburban parishes, reporter Katy Reckdahl explained. “All of these departures have slashed at the city’s network of extended families,” she wrote, “the generations of children who stayed in the same neighborhoods, blocks or even houses one decade after the next.”

For Tamara Jackson, president of the Social Aid & Pleasure Club Task Force, a consortium of the organizations that sponsor second-line parades, “Our culture is the one thing that keeps us bonded and united. The second lines bring us together, in our old neighborhoods, for four hours at a time.” But she wondered aloud: “Is the ‘new’ New Orleans for native New Orleanians, or is it for tourists?”

Jordan Hirsch, who was the founding director of the nonprofit Sweet Home New Orleans, a grass-roots organization that supported indigenous culture in Katrina’s wake, told me, “In some ways, this geographic dispersal has compelled people to double down on these indigenous traditions. If you can’t walk out your door and participate the way you used to, well, you’ll work even harder to make it happen. Still, I don’t think we know yet how this will really work. The issues are sustainability and transmission of tradition, which used to come more naturally.” Complicating that picture is a near-total conversion of the New Orleans schools to a charter system, which buses students all over the city and may or may not continue a long tradition of school-band instruction.

New Orleans jazz culture was born in opposition to challenges, a subversion of racism and classicism. In the Tremé neighborhood in 2007, a few nights after the police had shut down that memorial, the two musicians who had been arrested led another procession. Glen David Andrews put down his trombone and sang “I’ll Fly Away,” as drummer Derrick Tabb snapped out beats on his snare. A tight circle surrounded the musicians, as a middle-aged black woman turned to the man next to her. “They say they want to stop this?” she asked softly. “They will never stop this.”

Yet there’s a creeping and newfound sense of alienation. “We dragged this city back,” said the Hot 8’s Bennie Pete, “and now we’re being shown the door.”

Not that new doors haven’t opened. “One of the things that changed for the good in New Orleans,” said Lolis Elie, “is an increased conversation about the culture.” In some ways, the issues surrounding New Orleans culture are more clearly defined right now, more out in the open; musicians and other cultural leaders may be a step closer to the bargaining table when it comes to city policies. That’s thanks in large part to the emergence of some grass-roots organizations. The Music and Culture Coalition of New Orleans (MACCNO (http://maccno.com/) ), which began with lunchtime meetings in 2012 at a club owned by trumpeter Kermit Ruffins, seeks to “empower the New Orleans music and cultural community through collective self-representation advocating in the interests of cultural preservation, perpetuation and positive economic impact,” according to its website. It has served as a crucial source of information and advocacy. A board member of the newly formed nonprofit Crescent City
Cultural Continuity Conservancy (http://www.c5nola.org/) (C5) told me, “So much is changing so fast in New Orleans the cultural community is increasingly aware of the need to be visible advocates for aspects of the city’s identity that may well be drowned in the sea change that defines New Orleans, circa 2015.”

I’ll be honest. I’m ambivalent at best about this whole anniversary thing. I recall during the first anniversary of the flood, one Lower Ninth Ward family stood by and watched as a TV anchorwoman stood, microphone in hand, in front of their devastated home: “The producer said he doesn’t want us in the picture,” the father told me, holding his baby in his arms.

I’ll never forget a moment during second-anniversary events, in 2007. At a “World Cultural Economic Forum” hosted by Mitch Landrieu (then Louisiana’s lieutenant governor), Denis G. Antoine, ambassador to the U.S. from Grenada, said, “If we’re taking about rebuilding New Orleans, we have to ask: Which New Orleans are we talking about? We have to talk about social values and an ancestral past. There is an anthropological aspect to the nurturing of a new New Orleans and this will help direct what is appropriate and what is not.” (Well said, I thought.) He went on: “New Orleans is a perception. When we talk about safety: How safe do you feel? It’s not just about crime, it’s about how safe do you feel to be you?”

When I returned to New Orleans to the mark the fifth anniversary, the word “resilience” popped up nearly everywhere—in city-sponsored press conferences, and on signs tacked to lampposts that read: “Stop calling me RESILIENT. Because every time you say, ‘Oh, they’re so resilient,’ that means you can do something else to me.” A stone’s throw from a just-restored Mahalia Jackson Theater for the Performing Arts was that statue of Louis Armstrong, bound by ropes and secured by sandbags amid torn-up concrete and weeds, its base rusted and damaged—the unfortunate consequence of a renovation project initiated by then-Mayor C. Ray Nagin that had gone sour. Both statue and plaza have since been repaired, but in 2010 it seemed an apt image: In a city that has known devastation and government incompetence, can a celebrated homegrown culture once again find firm footing?

I suppose I’m still wondering.

Larry Blumenfeld writes regularly about jazz and culture for the Wall Street Journal, and at blogs.artinfo.com/blunotes. His Salon piece, “Band on the Run in New Orleans” was included in “Best Music Writing, 2008.” He will moderate a discussion, “Ten Years After: The State of New Orleans Music and Culture,” (https://www.facebook.com/events/994603180591201/) on Aug. 24 at Basin St. Station, in New Orleans. (The panel will be live-streamed by WWOZ-FM (http://www.wwoz.org/programs/wwoz-ustream-live-video-stream) .)

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August 25, 2015 / No Comments / More

“It’s not just a party, it’s our life”: Jazz musicians led the way back to the city after Katrina — but what is this “new” New Orleans?

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http://www.salon.com/2015/08/23/its_not_just_a_party_its_our_life_jazz_musicians_led_the_way_back_to_the_city_after_katrina_but_what_is_this_new_new_orleans/

Within all the hoopla to come, expect trumpets and trombones and tubas and second-line parades in progress. The storied jazz culture of New Orleans will again provide prominent B-roll for TV.

That culture belongs in the foreground.

Was New Orleans jazz culture welcomed back? Not exactly.

Yet there’s a creeping and newfound sense of alienation. “We dragged this city back,” said the Hot 8’s Bennie Pete, “and now we’re being shown the door.”

I suppose I’m still wondering.

This E Mail Is Being Sent by:
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU) HERE (http://www.youtube.com/watch?v=nDvUe6fkNLU&feature=player_embedded)

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August 25, 2015 / No Comments / More

“It’s not just a party, it’s our life”: Jazz musicians led the way back to the city after Katrina — but what is this “new” New Orleans?

http://www.jazzpromoservices.com/
http://www.salon.com/2015/08/23/its_not_just_a_party_its_our_life_jazz_musicians_led_the_way_back_to_the_city_after_katrina_but_what_is_this_new_new_orleans/

Within all the hoopla to come, expect trumpets and trombones and tubas and second-line parades in progress. The storied jazz culture of New Orleans will again provide prominent B-roll for TV.

That culture belongs in the foreground.

Was New Orleans jazz culture welcomed back? Not exactly.

Yet there’s a creeping and newfound sense of alienation. “We dragged this city back,” said the Hot 8’s Bennie Pete, “and now we’re being shown the door.”

I suppose I’m still wondering.

This E Mail Is Being Sent by:
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HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

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August 25, 2015 / No Comments / More

Review: Charlie Parker Jazz Festival Subtly Recalls Its Inspiration – The New York Times

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Note…Nate got the drummer wrong for Lovano.

It was Lewis Nash not Otis Ferguson.

http://www.nytimes.com/2015/08/25/arts/music/review-charlie-parker-jazz-festival-subtly-recalls-its-inspiration.html?emc=edit_tnt_20150824

** Review: Charlie Parker Jazz Festival Subtly Recalls Its Inspiration
————————————————————
By NATE CHINEN (http://topics.nytimes.com/top/reference/timestopics/people/c/nate_chinen/index.html) AUG. 24, 2015
A charge in the air: On Sunday in Tompkins Square Park, the musicians performing at the Charlie Parker Jazz Festival included the alto saxophonist Rudresh Mahanthappa, who drew from his album “Bird Calls.” Credit Caitlin Ochs for The New York Times

The Charlie Parker Jazz Festival (http://www.cityparksfoundation.org/summerstage/about/charlie-parker-jazz-festival/) comes by its name with a blissfully casual reverence. The festival, whose 22nd edition ran over the weekend, involves free outdoor concerts in Harlem and the East Village, neighborhoods where Parker, the pioneering alto saxophonist and bebop lodestar, once lived. It always falls near his birthday. (Born on Aug. 29, he would have turned 95 this year. He died at 34.)

But the festival doesn’t uphold bebop as a rigid absolute, or impose Parker’s music as a precondition. There tends to be a refreshing absence of formal tributes among the artists on the bill, and a healthy abundance of the informal kind, sometimes as fleeting and allusive as a scrap of melody shoehorned into a solo. Usually, that’s enough.

Still, there was a welcome charge in the air at Tompkins Square Park in the East Village on Sunday evening as the tenor saxophonist Joe Lovano unfurled a billowing, adroit improvisation, using elements of “Barbados,” (https://youtu.be/ZoJ3X8vw3Dk) a Parker tune. Leading a band with Leo Genovese on piano, Esperanza Spalding on bass and Otis Brown III on drums, Mr. Lovano was dipping into “Bird Songs” (Blue Note), his 2011 Parker-themed album.
Photo

The tenor saxophonist Joe Lovano dipped into his album “Bird Songs.” Credit Caitlin Ochs for The New York Times

A while later, in the festival’s closing set, the alto saxophonist Rudresh Mahanthappa drew from his own Parker-inspired album: “Bird Calls” (Act), released in February, and just crowned the top album in the 63rd Annual DownBeat International Critics Poll (http://www.downbeat.com/digitaledition/2015/DB1508/single_page_view/54.html) . His connection to the source material was more abstracted than Mr. Lovano’s, but that didn’t make it any less forceful.

This year’s festival, presented by the City Parks Foundation with support from the Dalio Foundation, began Thursday with a Parker-focused public conversation between Mr. Mahanthappa and the alto saxophonist Oliver Lake. The lineup at Marcus Garvey Park in Harlem on Friday and Saturday included Mr. Lake’s big band; the singer Andy Bey, alone at the piano; and the organist Dr. Lonnie Smith, with his band.

Besides Mr. Mahanthappa and Mr. Lovano, the acts on Sunday’s bill stood at opposite ends of the stylistic spectrum. The pianist and composer Myra Melford led a close approximation of the chamber-like group from her excellent most recent album, “Snowy Egret (http://www.nytimes.com/2015/03/24/arts/music/review-myra-melfords-snowy-egret-taps-into-dreams.html) ” (Yellowbird/Enja): Ron Miles on cornet, Liberty Ellman on acoustic guitar, Stomu Takeishi on acoustic bass guitar and Ted Poor (substituting for Tyshawn Sorey) on drums.
Photo

The bassist Esperanza Spalding. Credit Caitlin Ochs for The New York Times

Their performance struck an unpredictable balance of rustling counterpoint and open space, alighting every now and again on a catchy premise: the Caribbean carnival rhythm of “The Strawberry,” the halting funk of “Promised Land.” Ms. Melford is justly regarded as a fixture of the avant-garde, but in this band, with resources like Mr. Ellman’s light-fingered precision and Mr. Miles’s mournful but succulent tone, she strives for dynamic approachability. The crowd was ready to meet her halfway.

No such effort was needed during an opening set by Michael Mwenso, a singer and bandleader affiliated with Jazz at Lincoln Center, and given to an unabashedly stagy pep. His vocal style, like his arrangements and physical movements, evoked classic Motown as filtered through an acoustic jazz sensibility: sharp, ecstatic, tidy.

Mr. Mwenso’s band included smart young musicians like the tenor saxophonist Tivon Pennicott, and he welcomed a small parade of guests, like the blues singer Brianna Thomas and the tap dancer Michela Marino Lerman. For a finale, Mr. Mwenso gave his coyly theatrical take on “Get Me to the Church on Time,” which took flight mainly during a cameo by the pianist Jon Batiste, who sneaked in a nod to Mendelssohn’s “Wedding March” before pivoting toward a New Orleans blues dirge.

In the end, the standout performance was Mr. Mahanthappa’s, which made potent use of corkscrew melody and roiling groove. His band features the trumpeter Adam O’Farrill, and during an original called “On the DL,” their chatter suggested a bop aesthetic upgraded for advanced new biorhythms. Behind them, the rhythm section — Matt Mitchell on piano, Thomson Kneeland on bass and Rudy Royston on drums — worked brilliantly to flesh out the chantlike foundation of the tunes, warding off any sensation of stasis.

Parker was, at most, a spectral presence in Mr. Mahanthappa’s compositions. But the connection was obvious on “Talin Is Thinking (https://www.youtube.com/watch?v=GAftgYbetyk) ,” a brooding ballad that reframes one of Parker’s signature phrases, and grew here into a pocket epic, respectful but unbound.

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August 25, 2015 / No Comments / More

The Physicist Who’s Saving the Music – WSJ

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http://www.wsj.com/articles/the-physicist-whos-saving-the-music-1440169464

** The Physicist Who’s Saving the Music
————————————————————
Carl Haber in his recording research lab in April 2014 ENLARGE

Carl Haber in his recording research lab in April 2014 Photo: Roy Kaltschmidt/Lawrence Berkeley National Laboratory
By Hannah Bloch
Aug. 21, 2015 11:04 a.m. ET

Fifteen years ago, while languishing in traffic between Berkeley, Calif., and Silicon Valley, Carl Haber tuned in to a radio interview with Mickey Hart,the former Grateful Dead drummer turned music preservationist. Dr. Haber, a particle physicist, listened as Mr. Hart discussed his concern over historic audio recordings that were deteriorating. “He was talking about how sound recordings are on these fragile materials,” Dr. Haber recalls. “So it was kind of a challenge, sort of a plea.”

Dr. Haber thought he could help. At the Lawrence Berkeley National Laboratory, where he was developing equipment for the Large Hadron Collider (http://home.web.cern.ch/topics/large-hadron-collider) , the world’s most powerful particle accelerator, he had been using precision optical tools to measure devices that would help to track subatomic particles.

He wasn’t looking to apply science to music. “I’d been thinking not of sound recordings at all,” he says, “just of using imaging and pictures as ways of extracting information from things, which is something that’s very native to physics.”

But when he heard the radio interview, he says, “It just occurred to me: If we could turn these sound recordings Mickey Hart was talking about into pictures, we could treat them as large data sets that we could analyze on the computer and extract information from.”

Since 2002, Dr. Haber and several colleagues have been able to play back and restore some of the world’s oldest and rarest recorded sounds. Using a system of optical probes and cameras that they created and dubbed IRENE—for “Image, Reconstruct, Erase Noise, Etcetera” but also in honor of an early test that they did on a 1950 recording of “Goodnight, Irene” by the Weavers—they can scan and pull information off of the surfaces of antique recordings and create huge images, each several gigabytes in size.

A computer then extracts information from the images, which allows the recordings to be heard. “It’s a noninvasive, risk-free way to play things that were either delicate or unplayable,” Dr. Haber says.

Some of those delicate things are wax cylinders, lacquer and metal disks, plastic belts and even sheets of tin foil—cutting-edge technology from the past. The sounds that they hold include early, experimental voice recordings made by Alexander Graham Bell and his father in the 1880s.

The IRENE technologies also allow scientists to virtually remove defects from these old recordings—“essentially digging below the noise” for clearer playback, Dr. Haber says, even when the original media are damaged.

Over the years, Dr. Haber, 56, who was awarded a 2013 MacArthur “genius” grant (https://www.macfound.org/fellows/892/) for his audio work, has helped to rescue hundreds of endangered recordings at organizations including the Library of Congress and the Smithsonian Institution. He is now working to scan and save an early 20th-century collection of some 2,700 ethnographic recordings documenting Native American voices and music, held by the Phoebe A. Hearst Museum of Anthropology at the University of California, Berkeley.

California boasts a wider array of Native American languages than any other state, but some of its indigenous languages no longer have living speakers. The recordings that Dr. Haber and his team are working to preserve will help tribes to revitalize languages at risk of fading, perhaps helping guide correct pronunciation and word usage.

This was the furthest thing from Dr. Haber’s mind when he was stuck in Bay Area traffic and listening to the radio back in 2000. But, as he says, “If you don’t explore ideas that come up, you don’t move forward.”

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August 24, 2015 / No Comments / More

The Physicist Who’s Saving the Music – WSJ

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http://www.wsj.com/articles/the-physicist-whos-saving-the-music-1440169464

** The Physicist Who’s Saving the Music
————————————————————
Carl Haber in his recording research lab in April 2014 ENLARGE

Carl Haber in his recording research lab in April 2014 Photo: Roy Kaltschmidt/Lawrence Berkeley National Laboratory
By Hannah Bloch
Aug. 21, 2015 11:04 a.m. ET

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

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August 24, 2015 / No Comments / More

The Physicist Who’s Saving the Music – WSJ

http://www.jazzpromoservices.com/
http://www.wsj.com/articles/the-physicist-whos-saving-the-music-1440169464

** The Physicist Who’s Saving the Music
————————————————————
Carl Haber in his recording research lab in April 2014 ENLARGE

Carl Haber in his recording research lab in April 2014 Photo: Roy Kaltschmidt/Lawrence Berkeley National Laboratory
By Hannah Bloch
Aug. 21, 2015 11:04 a.m. ET

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

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August 24, 2015 / No Comments / More

Q&A with Al Green, son of famous jazz guitarist Freddie Green

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** Q&A with Al Green, son of famous jazz guitarist Freddie Green
————————————————————

** Adam Parker (http://www.postandcourier.com/apps/pbcs.dll/personalia?ID=65) Email (mailto:aparker@postandcourier.com) Facebook (https://www.facebook.com/#!/aparkerwriter) @adamlparker (https://twitter.com/#!/adamlparker)
————————————————————
Aug 23 2015 12:01 am Aug 23 10:18 am
Green
Alfred Green has been on a mission to understand his famous father, jazz guitarist Freddie Green.

If you go
Book signing
WHAT: Book chat, signing and reception with Alfred Green. Al Green will tell stories about his father’s early years in Charleston, the legendary career with Count Basie and his innovative guitar technique.
WHEN: 7 p.m. Thursday
WHERE: Avery Research Center, 125 Bull St.
COST: Free
MORE INFO: www.charlestonjazz.net; artsmgmt.cofc.edu; www.freddiegreenrhythm.com.
Jazz class
WHAT: Tyler Ross’ College of Charleston Jazz Repertory Class, with Michael Pettersen, guitarist and Freddie Green historian. Ross opens his jazz repertory class to the public. Pettersen discusses Green’s guitar technique.
WHEN: 3:30-5 p.m. Friday
WHERE: Recital Hall, 54 St. Philip St.
COST: Free
MORE INFO: www.charlestonjazz.net; artsmgmt.cofc.edu; www.freddiegreen.org
Presentation, concert, book signing
WHAT: Book presentation with Al Green and concert by Quentin Baxter’s Franklin Street Jazz Ensemble. Al Green will give a presentation about Freddie Green, followed by a Q&A with Adam Parker of The Post and Courier. A book signing will follow.
WHEN: 7 p.m. Saturday
WHERE: Recital Hall, 54 St. Philip St.
COST: Free
MORE INFO: www.charlestonjazz.net; artsmgmt.cofc.edu
The elder Green was a master of rhythm and swing, providing the Count Basie Band with its foundation.
Freddie Green, a product of the Jenkins Orphanage Band in Charleston, developed a “sound” and style that jazz insiders would study and strive to emulate.
Now Freddie Green’s son has written a book called “Rhythm Is My Beat,” published by Rowman & Littlefield, which seeks to explain the great guitarist’s achievement and allure.

The Post and Courier asked Al Green a few questions about his dad.

Q: Freddie Green was the quiet hero of early jazz, not terribly visible to audiences but hugely respected by fellow musicians. Why was he so important?
A: Musicians loved playing with Freddie Green because he always pushed the ensemble to swing all out and elevated the soloist as they rode his 4/4 “melodic rhythm wave” to improvisational freedom.
Q: What role did your father play in your own life? How influential was he and his music?
A: As the son of Freddie Green, I was not so much influenced by the music but more by Dad’s approach to the music, his work ethic. Both he and I were driven, and saw obstacles as opportunity. I returned to school and got my master’s (degree) at age 51.
Dad remained steadfast (even) as other rhythm guitarists readily abandoned playing rhythm and scrambled to play single-string solos, like Charlie Christian or Eddie Durham.
Freddie Green did not follow the pack, and ultimately turned the “chink, chink, chink” of the supportive acoustic rhythm guitar into an art form.
Q: Charleston and its music scene shaped Freddie Green and his sensibilities. Describe Charleston’s unique influence on Green’s music and on jazz generally.
A: Dad’s early life in Charleston was rooted in music: from his mother singing in the Morris Brown AME choir to his relationship with music students (in the) Jenkins Orphanage Band, and with the solid tutelage of Professor William Blake. It was in this environment where a sense of purpose, pride and loyalty to fellow musicians internalized.
The many musicians coming out of Charleston and the Lowcountry were often better prepared musically than others, giving them an advantage in the market.
Q: Green played with Basie, then encountered many other jazz greats, such as Billie Holiday, Lester Young, Benny Goodman and Walter Page. All were involved in big bands. What happened to Green after the big band era, when bebop took over?
A: There was a stronger resolve in Freddie Green to not let any individual or style of jazz erode the sound that made Basie Basie. He and The Count were not opposed to the new modern approach to jazz but held a tight rein on young arrangers to ensure that the charts they presented swung and, if they didn’t, Basie would say with a nod from his guitarist, “Pass the peanuts,” meaning, we are not playing it.
Q: Tell me about the book, “Rhythm Is My Beat.” What was your approach? How will it be used?
A: I decided to write “Rhythm is My Beat” because I realized that 75 percent of Dad’s life was spent with his extended family, Basie’s band. However, was my perception of the dad and man I knew congruent with how the Basie family and the world beyond perceived him? It was important to me to know my dad 100 percent.
Many fans knew the musician Freddie Green but longed to know the mysterious, imperturbable Mr. Rhythm — the man.
Because of the ongoing dialogue 28 years after his death around the mystique of how Freddie Green got that sound, much of the theory from contributing guitarists and educators are compiled in extensive appendixes, attracting students, professional guitarists, jazz aficionados, educators and both Basie and Freddie Green followers.

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Q&A with Al Green, son of famous jazz guitarist Freddie Green

http://www.jazzpromoservices.com/

** Q&A with Al Green, son of famous jazz guitarist Freddie Green
————————————————————

The Post and Courier asked Al Green a few questions about his dad.

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Jazz Promo Services
269 State Route 94 South
Warwick, Ny 10990
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August 24, 2015 / No Comments / More

Q&A with Al Green, son of famous jazz guitarist Freddie Green

http://www.jazzpromoservices.com/

** Q&A with Al Green, son of famous jazz guitarist Freddie Green
————————————————————

The Post and Courier asked Al Green a few questions about his dad.

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Jazz Promo Services
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Doudou N’diaye Rose, 85, Senegalese Drummer and ‘Human Treasure,’ Dies – The New York Times

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http://www.nytimes.com/2015/08/24/arts/music/doudou-ndiaye-rose-senegalese-drummer-and-human-treasure-dies-at-85.html?src=mv

** Doudou N’diaye Rose, 85, Senegalese Drummer and ‘Human Treasure,’ Dies
————————————————————
By BRUCE WEBER (http://topics.nytimes.com/top/reference/timestopics/people/w/bruce_weber/index.html) AUG. 23, 2015
Doudou N’diaye Rose, an emissary of Senegal’s drum rhythms, at a percussion festival in 1998 in Brazil. He played with Miles Davis, Dizzy Gillespie, the Rolling Stones and Peter Gabriel. CreditJohn Maier Jr.

Doudou N’diaye Rose (https://www.youtube.com/watch?v=TlG3xLIPX7c) , a master drummer and bandleader from Senegal (http://topics.nytimes.com/top/news/international/countriesandterritories/senegal/index.html?inline=nyt-geo) who became an emissary of his native culture’s joyous and complex rhythms to the rest of the world, touring with percussion orchestras in Europe, Asia and the United States, died on Wednesday in Dakar, Senegal. He was 85.

His death was reported by numerous news agencies, including The Associated Press and Agence France-Presse, which said it was confirmed by Mr. Rose’s nephew Doudou N’diaye Mbengue.

Mr. Rose was skilled on a variety of native African drums, but he was especially known as a virtuoso of the sabar (https://www.youtube.com/watch?v=CwZFkd5fM78) . A tall wooden drum covered with goatskin and circled with pegs, the sabar, which is usually played with one bare hand and one stick, was traditionally used for communication between villages and to accompany myriad social occasions. Mr. Rose studied those traditions, absorbing what he called “the very precise language of drums,” in travels throughout Senegal and expanded the language, creating numerous riffs of his own.
Continue reading the main storyMr. Rose became an emissary of his native culture’s joyous and complex rhythms. Video by WMDCtv

He became a national figure, known as the country’s chief drum major, a kind of Pied Piper of Senegalese drumming culture and literally the father of its continuing prominence. He had dozens of children — as many as 40, according to some sources — and grandchildren, and many of them became drummers, performing vibrant compositions with impossibly layered rhythmic figures under his direction in an orchestra called the Drummers of West Africa and an all-female ensemble known as the Rosettes. Mr. Rose reportedly had four wives, some if not all of them simultaneously. Information about survivors was not immediately available.

Over the years Mr. Rose appeared onstage or on the bill with Miles Davis, Dizzy Gillespie, the Rolling Stones and Peter Gabriel, and he was among those named as “living human treasures” by the United Nations Educational, Scientific and Cultural Organization. He made his American debut (http://www.nytimes.com/1988/07/09/arts/review-pop-from-africa-percussion-and-an-all-female-band.html) in 1988 with a 30-member version of his orchestra at the Beacon Theater in New York, a performance featuring exuberant dancers and vivid costuming as a complement to the orchestra’s pulsing rhythms.

“But even without the staging, the rhythms themselves would have held the ear,” Jon Pareles wrote in a review for The New York Times, “whether it was the high pattering of three talking drums, the rich cross-rhythms of half a dozen hand drums or a deep, full-group unison — all of them in fast-changing sequences that would tax a Western percussionist’s memory to the limit.”

Mr. Rose was born Mamadou N’diaye in Dakar on July 28, 1930. Though his father, an accountant, warned him against a career in music, the tug of the rhythms he heard all around him proved too great to resist. (Mr. Rose said that when he decided to ignore his father’s counsel, the two men did not even shake hands for seven years.)

“Every day, the tam-tams played for marriages, baptisms and circumcisions,” he recalled in a 2010 interview with the British newspaper The Independent, using a generic name for drums. “Whenever I left the house, the sounds distracted me. It’s as if they said, ‘Doudou, don’t go to school, you must come and play the tam-tam.’ ”

As a young man he made his living as a plumber until he came under the influence of a local master drummer, Mada Seck, who passed on his secrets and his instruments and encouraged the Mr. Rose to take his place. But he was determined to learn more, and he traveled the country to learn its rhythmic vocabulary.

“I never wanted to play blindly,” Mr. Rose said. “I met the elders so that they could teach me the very precise language of drums that everybody recognized then: how to announce a bush fire, that a snake has bitten someone and what kind of snake, that a woman who has just got married has gone to the conjugal home and that the husband is happy with her.”

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Doudou N’diaye Rose, 85, Senegalese Drummer and ‘Human Treasure,’ Dies – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/08/24/arts/music/doudou-ndiaye-rose-senegalese-drummer-and-human-treasure-dies-at-85.html?src=mv

His death was reported by numerous news agencies, including The Associated Press and Agence France-Presse, which said it was confirmed by Mr. Rose’s nephew Doudou N’diaye Mbengue.

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Jazz Promo Services
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Warwick, Ny 10990
USA

August 24, 2015 / No Comments / More

Doudou N’diaye Rose, 85, Senegalese Drummer and ‘Human Treasure,’ Dies – The New York Times

http://www.jazzpromoservices.com/
http://www.nytimes.com/2015/08/24/arts/music/doudou-ndiaye-rose-senegalese-drummer-and-human-treasure-dies-at-85.html?src=mv

His death was reported by numerous news agencies, including The Associated Press and Agence France-Presse, which said it was confirmed by Mr. Rose’s nephew Doudou N’diaye Mbengue.

HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.

CHECK OUT OUR NEW YOUTUBE VIDEO (http://www.youtube.com/watch?v=nDvUe6fkNLU)

Jazz Promo Services
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Warwick, Ny 10990
USA

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I am quite sure I would not have been able to achieve the success that I have over the last 13 years if it wasn’t for the expertise, hard work, and guidance of Jim Eigo and Jazz Promo Services.

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Lots of wonderful videos of West Coast Jazz concert material and panel discussions

Gary Keys, Filmmaker Who Documented Duke Ellington, Dies at 81 – The New York Times

Gary Keys, Filmmaker Who Documented Duke Ellington, Dies at 81 – The New York Times

Gary Keys, Filmmaker Who Documented Duke Ellington, Dies at 81 – The New York Times

‘3-D Rarities’ Review: When the World First Loved 3-D Movies – WSJ

‘3-D Rarities’ Review: When the World First Loved 3-D Movies – WSJ

‘3-D Rarities’ Review: When the World First Loved 3-D Movies – WSJ

How Lena Horne Escaped Hollywood’s Blacklist – The Atlantic

How Lena Horne Escaped Hollywood’s Blacklist – The Atlantic

How Lena Horne Escaped Hollywood’s Blacklist – The Atlantic

Midday Jazz Midtown: September 2015

Midday Jazz Midtown: September 2015

Midday Jazz Midtown: September 2015

Midday Jazz Midtown: September 2015

George Bouchard dies; jazz saxophonist, NCC music professor was 71 | Newsday

George Bouchard dies; jazz saxophonist, NCC music professor was 71 | Newsday

George Bouchard dies; jazz saxophonist, NCC music professor was 71 | Newsday

Katie Couric: ‘Late Show’ bandleader Jon Batiste: on ‘love riots,’ Colbert, and all that jazz

Katie Couric: ‘Late Show’ bandleader Jon Batiste: on ‘love riots,’ Colbert, and all that jazz

Katie Couric: ‘Late Show’ bandleader Jon Batiste: on ‘love riots,’ Colbert, and all that jazz

ST. ALBANS (jazz greats), Queens | | Forgotten New York

ST. ALBANS (jazz greats), Queens | | Forgotten New York

ST. ALBANS (jazz greats), Queens | | Forgotten New York

ST. ALBANS (jazz greats), Queens | | Forgotten New York

New handbag plays contemporary classical music | gramophone.co.uk

New handbag plays contemporary classical music | gramophone.co.uk

New handbag plays contemporary classical music | gramophone.co.uk

“It’s not just a party, it’s our life”: Jazz musicians led the way back to the city after Katrina — but what is this “new” New Orleans?

“It’s not just a party, it’s our life”: Jazz musicians led the way back to the city after Katrina — but what is this “new” New Orleans?

“It’s not just a party, it’s our life”: Jazz musicians led the way back to the city after Katrina — but what is this “new” New Orleans?

Review: Charlie Parker Jazz Festival Subtly Recalls Its Inspiration – The New York Times

The Physicist Who’s Saving the Music – WSJ

The Physicist Who’s Saving the Music – WSJ

The Physicist Who’s Saving the Music – WSJ

Q&A with Al Green, son of famous jazz guitarist Freddie Green

Q&A with Al Green, son of famous jazz guitarist Freddie Green

Q&A with Al Green, son of famous jazz guitarist Freddie Green

Doudou N’diaye Rose, 85, Senegalese Drummer and ‘Human Treasure,’ Dies – The New York Times

Doudou N’diaye Rose, 85, Senegalese Drummer and ‘Human Treasure,’ Dies – The New York Times

Doudou N’diaye Rose, 85, Senegalese Drummer and ‘Human Treasure,’ Dies – The New York Times

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